The relationship between politics and art is a multifaceted and delicate one. Many define Art as the definitive exercise of liberty and, therefore, the most political of statements feasible. There exists a deep relationship between arts and politics. Politics is mostly comprised of writing, talking, decision-making, and speeches delivery while, on the other hand, art teaches you the skills required so as to speak resourcefully, making the best decisions, and write correctly-also defined as the conscious use of skills and artistic imagination particularly in the creation of artistic objects. In my observation, art is by its very nature political and every time an artist comes up with artistic work and reinterprets light words or sound, then he or she is definitely making a political statement since all artistic work according to my stand are political (Kevin, 2008).
Diego Rivera, Jose clement Orozco, and David Alfaro Siqueiros also referred to us as the three Mexican artists-were sturdily linked with Mural painting and the sociopolitical art of that time. The Mexican government recognized the great role that the artistic work would have played in restoring a Nation dilapidated by civil war. The government believed that art had a social and ideological purpose under the presidency of Alvaro Obregon. This led the government to summoning Mexican artists to return from abroad to work together in a program of mural adornment of community buildings. The Mexican artists created an efficient visual language for propaganda purposes (Kiser, 1991). This clearly illustrates that politics and art are strongly related since they are both adopted when needs arises for propaganda purposes. The Mexican government was also quick in recognizes the fact that art would serve the same role as politics and in an effective way through use of visual images that communicates volume to many people (Kevin, 2008).
The three Mexican artists were involved in a new system of visual conceptualization of the Mexican nature. Their comparable stylistic approaches resulted in potent images whose might could only be paired with the monument superiority of the mural. They painted for the community and planned their murals accordingly with the objective of making their information clear and easier to understand to all Mexican citizens just like politics does. An institute known as athenaeum came up that helped a lot in the creation of large numbers of murals that depicted political messages. Political messages were created in public buildings with the objectives of uplifting peasant workers in Mexico (Kiser, 1991). We can therefore say that political messages are not only restricted in one route of communication-politics, but also the use of art can serve the same purpose. These three muralists worked over a physical surface or on the veneer of a building. The themes of their work of art were events from the political climate of the time and recreation of the Mexican Revolution of 1910.This led the Mexican artists coming up with politically committed art basing their ideas on modernist reforms and collective principles (Kevin, 2008).
Through this research, I can therefore say that the Mexican government believed in the power of the mural as the highest form of art whose role it was to reach the people with the intention of educating and communicating effectively. The artists did a great work mostly emphasizing on human suffering and the cruelty of the Mexican revolution. These objectives could also be achieved through the use of politics and that is why I make my final judgment that art and politics are related. It is also said that for one to be an effective politician, then he or she must possess the skills in arts (Kevin, 2008).
Hillstrom, Kevin. Diego Rivera: muralist. Detroit: Lucent Books, 2008.Print.
Hargrove,Jim. Diego Rivena: Mexican muralist. Chicago: Children press, 1990.print.
Kahlo,Frida, and Victor Taylor. Frida Kahlo. Minneapolis: Walker Art Center, 2007.Print.
Kiser, Jo Anne. Influence of the Posadas on the creators of the Mexican muralist movement:
Rivera, Siqueiros, and Charlot. n/a, 1991.print.